Eico Hf 52 Manual

MODEL HF 52

50 WATT INTEGRATED

HIGH FIDELITY AMPLIFIER

CTIONS

ELECTRONIC INSTRUMENT CO*, INC.

84 Withers St. •Brooklyn 11, N. Y.

Price $1.00

HF 52-1

MODEL HF52

general description

GENERAL

The Model HF52 is the least expensive means of achiev"

fng the highest audio quality, resulting from high power

obtained without distortion throughout the full audio spec-

trum, virtually absolute stability, and flawless transient

response. Despite the fact that the preamplifier-control

section IS placed on the same chassis with ahigh power

amplifier, engineering of the layout has eliminated any

FEATURES

1* Extremely low distortion preamplifier—equalizer cir-

cuit, equalizing entirely by feedback. Selection from five

equalizations permits correct compensation for practically

any microgroove or 78rpm recording.

2. Extremely low distortion printed circuit feedback bass

and treble tone controls. These controls do not affect

the volume or interact with each other, and also provide a

true "flat" position. Turnover frequency in both bass and

treble vanes with the degree of boost or cut, making it

possible to bring up the extreme lows or extreme highs

affecting the mid-range as well.

3. DC superimposed on all tube filaments to eliminate

cathode-heater leakage as asource of hum.

4. ACentralab printed-circuit, prewired loudness control

(Compentrol) plus aseparate level control, both on the

front panel, permits an infinite selection of loudness "con-

tours" at any desired listening level. By pre-setting the

panel level control as instructed, the loudness control will

automatically provide correct Fletcher-Munson loudness

compensation at the setting which gives the desired listen-

ing level,

5. Four high level and two low-level inputs enable this

amplifier to accomodate tv, tape recorder, AM“FM tuner

(or separate AM and FM tuners), ceramic or crystal cart-

ridge, as well as any leading magnetic or FM phono pick-

up without the necessity of component changes. No cross-

talk; selector switch grounds all inputs but one selected,

6. Low impedance cathode follower tape-output unaffect-

ed by any controls^

50 WATT INTEGRATED

HIGH FIDELITY AMPLIFIER

undesirable couplings. The hum and noise level achieved

is on apar with that of well-designed lower power inter-

grated amplifiers and will be found entirely satisfactory

even by critical listeners. The output stage and the out-

put transformer, the type of power amplifier circuit, and

the power supply components are identical to that used in

the Model HF50 power amplifier.

7. The use of acathode follower at the high level inputs

makes it possible to provide the high input impedance re-

quired for flat frequency response and high output from the

new, high quality, seif- equalizing ceramic cartridges.

8. The output of the preamplifier-control section and the

input to the power amplifier section have been brought out

to separate receptacles on the rear chassis apron for the use

of people whowish to employ an electronic cross-over net-

work and an additional amplifier (or amplifiers).

9. The level control is placed at alow-impedance point

in the amplifier (after the tone controls)so that the square

wave response is unaffected by the level setting. This is

possible because the cathode follower input circuit will

not distort the signal even at peak signal voltages far in

excess of the value of signal that will develop rated output

power. Another benefit of this arrangement is ahigh sig-

nal-to-noise ratio in the tone control stoge.

10. The power amplifier features acathode-coupled phase

inverter, which provides drive for the output stage from

equal and comparatively low impedances and direct coupl-

ing from the preceding first voltage amplifier stage. The

Importance of the cathode-coupled phase inverter is that

it provides forced balance over the entire frequency and

dynamic range.

n. EL34/6CA7 output pentodes in apush-pull Ultra-Lin-

ear output stage operating with fixed bias.

12, Extremely high quality output transformer*, employing

grain-oriented steel, extensively interleaved windings, and

fully potted in aseamless steel case. 4, 8, and 16 ohm

speaker connections are provided, (*Chicago Standard)

1

13. Heavy“cluty power transformer. 125 and 117volt pri~

mary taps permit trouble-free operation in high line voltage

areas.

14 Extra-rugged GZ34rectif!er tubewith indirectly heat-

ed cathode to eliminate high starting voltage on electro-

lytic filter capacitors, and to delay the application of the

full B+ voltage to the amplifier tubes until they have warm-

ed up.

15. Fuse and panel mounted fuse holder.

16. Control of bias voltage for output tubes.

SPECIFICATIONS

Output Power: 50 watts continuous; 100 watts peak

*IM Distortion (60 &6000cps at4 ;1);below 1% at 50 w; 1/2% at 20 w

*Total Harmonic Distortion;below 1% 20cps -20 kc within 1db of 50

w

*Frequency Response; 1w; ±0.5db 6cps -60kc; ±1 .5db 6cps -lOOkc

50w; ±0,5db 15cps -60 kc; ±1 .5db 15cps -lOOkc

±0. 1db 20.cps -30kc at any level from 1mw to 50 watts

No peaking or raggedness outside the audio range.

eSquare Wave Responses20cps —20kc essentially undistorted; 35us rise—time.

Inverse Feedback; 20 db

Stability Margin;15db (virtually absolute stability)

Damping Factor;above 12, 20cps -20 kc; 17 at 1kc.

Speaker Connections; 4, 8, and 16 ohms.

Tone Control Range; gt lOkc -15db boost ond 15db cut; ot 50cps -15db boost and 15db cut.

Phono Equalizer Curves;RIAA (New AES, NARTB, ORTHO, RCA), Columbia (original LP), London, American 78,

European 78.

Sensitivity;Phono (magnetic) _8millivolts for rated output on PHONO LO input; 27 millivolts on PHONO HI input.

Tuner, TV, Tape, Auxiliary 0.6 volt for rated output.

input Impedances; PHONO LO &PHONO HI -47K; AUX, TUN, TV, TAPE -2.2 meg.

Tape Recorder Output; 1000 ohms; unaffected by tone, loudness, or level controls.

Hum &Noise Level; Mag. Phono __ ** 60db below rated output (RIAA, max, gain, and tone controls set at flat position).

Tuner, etc 75db below rated output (max. gain and tone controls set at flat positions).

Power Source;117V, 60cps; draws 150VA at no signal, 200VA at signal developing rated 50w output; 250VA at signal

developing peak lOOw out (overload).

Tubes; 2“ EL34/6CA7, 2“ ECC83/12AX7, 1“ ECC90/6C4, 1- 6CG7, 1" GZ34.

Size; HWD; 81/2" X15" X10".

Weight;30 lbs

.

*Measured from high level Inputs with tone controls set at "flat" positions and loudness control at maximum (no effect).

** Includes effect of 16db boost at 60cps due to RIAA compensation.

2

17, DC balance adjustment of output tubes; convenient

metering terminals provided

18. Switched and unswitched convenience outlets.

19„ Heavy gauge cadmium plated steel chassis; baked

metal- lustre statuary bronze finish. Brushed brass control

plate,

20. Premium quality audio and rectifier tube types used

exclusively,

21. Optional matching decorative cover.

mechanical installation

GENERAL

a) HEAT DISSIPATION (VENTILATION); In common with

ofher electronic equipment, the HF*52 produces agreat

deal of heat in normal operation. Unless continuous and

adequate air flow is obtained around the heat producing

elements, these elements will over-heat and their useful

life will be greatly curtailed.

It is useful to understand the process of connection where-

by heat is removed in judging the suitability of alocation.

Air heated by the heat-producing elements expands and

rises; cool air Is drawn from beneath to take the place of

the heated air» In this manner, astream of air is set in

motion which continually removes heat from the ampli-

fier, (In particular, we are mainly concerned with the

ma or heat-producing elements; the two EL34 output tubes

and the GZ34 rectifier tube.) If there Is any Impediment

to or constriction of the air flow, the essential process of

heat removal will be adversely affected.

Adequate ventilation will be provided If the amplifier Is

installed In an open-back console provided that the top

of the amplifier is spaced at least two Inches below any

shelf mounted above It. If the cabinet Is enclosed at the

rear, provide several large holes or slots as low down and

as high up in the cabinet back as possible. As an alter-

nate, holes may be provided in the sides, bottom, or top

of the cabinet. The Important thing to remember is that

effective ventilation requires provision for cool air to en-

ter at the bottom and hot air to leave at the top.

If the amplifier is not installed in aconsole, it should be

situated preferably on an open surface, not on ashelf of

abookcase. An attractively finished matching cover* for

the HF’"52 is available which will provide a“finished"

appearance as well as protection when the amplifier Is

not installed in aconsole. Four rubber feet are also pro-

vided so that the amplifier will not mar the surface of fur-

niture on which it is placed, (*Model E“l)

b) EASY ACCESS TO CONTROLS; Mount the amplifier

at aheight which will permit easy manipulation of the con-

trols. Tuner controls should be located nearby.

c) ACCESSIBILITY TO PARTS: Tubes are the most fre-

quently replaced items in electronic equipment. If the

amplifier Is Installed in aconsole, sufficient space should

be alloted to reach and remove any tube in the amplifier,

Furthermove, input and output terminals of the amplifier

should be accessible to permit easy Interchanging of sys-

tem components for comparison, and connection or dis-

connection of aportable tape recorder which is stored a-

way when not inuse. If antennas are strung around theback

of the console in which the amplifier is Installed, arrange

them so they will not Interfere with access to the amplifier.

d) ACOUSTICAL ISOLATION; If amplifier and speaker

are Installed in the same cabinet (not recommended), pro-

vide sufficient separation to minimize mechanical speaker

vibration reaching the amplifier. The minimum separation

is about one foot.

CONSOLE MOUNTING

a) Operations on console front panel preliminary to am-

plifier mounting;(1) Tape the panel template provided

to the face of the console so that the top of the mounting

surface line on the template is level with the top of the

amplifier mounting shelf. (2) Use an awl or anail to

pierce the centers of the five 5/8" diameter holes for the

controls and the two small holes for mounting the control

plate, to transfer their locations to the console panel be-

neath, (3) Remove the panel template. (4) Drill the

holes for the panel controls only (the two small holeswhich

have been marked are for wood screws).

b) Amplifier mounting in console: (1) Pull off the con-

trol knobs (a second set of knobs with long shanks has

been provided for console installation). (2) Remove the

control plate, which is attached to the chassis apron by

two screws, (These may be discarded since they are un-

suitable for attaching the control plate to the console

panel and two ^4 X3/8 wood screws have been supplied

for this purpose.) (3) Fasten the control plate to the con-

sole panel with the 2^4 X3/8 wood screws, (4) If the

rubber feet have been inserted in the bottom plate, re-

move them. (They may be pried out with athin screw-

driver.) (5) Place the unit on the mounting shelf and

slide it as far forward as possible, so that the controls

penetrate the panel holes as for as possible, (6) Place

along shank knob on each control, pressing each knob

toward the chassis firmly so that each control shaft enters

fully into its knob, (7) Draw the chassis back evenly

and carefully until theback rimsofall theknobsare equally

spaced from the control plate about 1/8". (8) With a

sharp pencil, placed with its point directly against the

edge of the lower surface of the bottom plate, draw the

outline of the bottom plate on the chassis shelf. (9) Now

remove the knobs and take the chassis off the shelf. (10)

Remove the 10 screws which fasten the bottom plate to the

chassis. (11) Place the bottom plate exactly in the out-

line drawn on the shelf (bumps facing up) and mark the

positions of the two holes on the left side and the two holes

on the right side. (12) Remove the bottom plate and drill

each of the marked holes on the shelf to adiameter of 1/4".

(13) Refasten the bottom plate to the chassis, with the 6

^8 X3/8 screws previously removed, using the 3holes at

the rear and the 3holes at the front of the chassis, (14)

Replace the chassis on the shelf, positioning It exactly in

the outline previously drawn, and restore the knobs. This

time make sure that the indicator doton each knob agrees

with the control position. (15) From the bottom side of

the shelf, insert a^8 X1" screw with a1/2" flat washer

against the head through each of the four left and right

side holes. These screws engage the stamped nut overeach

hole on the chassis flange and when tightened secure the

chassis to the shelf.

electrical installation

GENERAL

a) SPEAKER CONNECTIONS: To connect your speaker

to the amplifier properly, you must know its rated imped-

ance. This may be read off the speaker nameplate. Con-

nect one speaker lead to the terminal on the rear apron

marked "G" and the other speaker lead to the nearby ter-

minal designated by the rated speaker impedance (4, 8,

or 16 ohms). Plastic-covered lamp cord may be used for

distances up to 50ft, with little power loss. For shorter

distances, TV antenna lead can be used, particularly if

it is desired to run the speaker lead under arug.

If it is desired to use two similar or identical full-range

speakers of the same rated Impedance (either 8or 16 ohms

only) for better sound distribution, connect one speaker

lead of each pair to "G" and the two remaining leads to

the terminal with anumber equal to half of one of the

speaker's rated impedance .(I tmay be necessary to "phase"

the two speakers by reversing both of the leads from one

of the speakers.) This may not be done if each of the

speakers is designed for reproduction of adifferent part

of the audio spectrUm (woofet-tweeter combinations) in

which case across-over network is required which con-

nects to the amplifier with only one pair of leads.

b) PHONO INPUT: The shield lead from your phono-

graph should be provided with ashielded "phono-type"

plug. The input jack on the amplifier into which this

plug should be inserted depends on the type of cartridge

employed. Specific instructions follow.

GE Variable Reluctance or Professional, Audak, Recoton,

Electrosonic &transformer, Fairchild &transformer, Elec-

tro-Voice 84SM: Connect to LO phono input.

All Pickering, Miracord, Fentone, Weathers &Adaptor

plug P631 (Wedthers)i Connect to HI phono input.

Sonotone3Por3T, Electro-Voice EV84S, or anyhigh qua-

lity ceramic or crystal cartrldgeself-equalizing as per the

RIAA curve; Connect to AUXillary phono input. Note

that the equalizer preamplifier circuit is not effective in

this case.

c) HIGH LEVEL INPUTS: Four high level input jacks des-

ignated as Tuner, TV, Tape, and Auxiliary are provided for

connection of tuners, Wreceivers, tape recorded playback,

and ordinary or RIAA equalizing crystal or ceramic phono

cartridges without adaptor. Ashielded cable witha shield-

ed "phono-type" plug should be used to connect each of

these sources to the corresponding amplifier input jack.

Unless the source has alow-impedance output such as a

cathode follower (with which up to 50ft. of cable can be

used), use the shortest possible connection and low capacity

shielded coble (cable having as low as 25 mmfd capacitance

per foot is available).

If the tuner employed has avolume control to adjust the

output, set this control as follows. Turn the amplifier

LEVEL control to minimum and the LOUDNESS control to

maximum. Play any recording on your phonograph and turn

up the level control to obtain an ordinary listening level.

Without touching the LEVEL or LOUDNESS controls, turn

the SELECTOR to TUNER and adjust the volume control

on the tuner to obtain approximately the same loudness

level as was obtained from the recording. In the case where

the tuner has no output level control and also In the case

of the other high level inputs, the independenfLEV EL con-

trol on the front panel of the amplifier permits adjustment

of the level when changing inputs.

c) TAPE OUTPUT: Ashielded cable (up to 50ft. may be

used) with ashielded "phono-type" plug should be used

toconnectfrom the TAPE OUTPUT jack to the Input of the

tape recorder. Any input chosen by the SELECTOR is fed

out to the tape recorder through this jack. Phono inputs

fed In at PHONO LOand PHONO HI are of course equa-

lized according to the equalization selected but none of

the inputs are affected by the level, loudness, and tone

controls.

d) POWER CONNECTIONS: The power cordof the turn-

table and tuner may be inserted in the convenience out-

lets provided on the rear chassis apron. The receptacle

marked n7VAC is Intended for use primarilywitha phono-

graph and provides 117 VAC regardless of whether the

power switch of the amplifier Is turned on or off In order

to protect the phonograph mechanism. The receptacle

morked 117 VAC Switched 150 watts is "live" or "dead"

depending on whether the amplifier powerswitch is turned

on or off and is Intended primarily for use with tuners.

Equipment drawing in excess of 150 watts should not be

plugged into this outlet.

HUM ADJUSTMENT

a) After checking the amplifier for proper operation, re-

move all input cables to the ompiifier and make the foil ow-

ing control settings which hold throughout the process of

hum adjustment; SELECTOR at RIAA, LEVEL& LOUDNESS

to 10, TREBLE control at "5, BASS control at 0. Next

procede os follows; With your ear held close to the speaker.

Insert the amplifier power plug into the wall outlet and

listen to the hum level. Now pull out the plug and re-

insert it with the prongs reversed and listen again. Choose

the prong position which gives the least hum. Now con-

nect the tuner Input connector to the amplifier input jack,

and with tuner set between stations and the tuner volume

control set aminimum, do the same with the power plug of

the tuner, using the 117 VAC SW convenience outlet on

the amplifier if desired. Finally connect the phono input

connector to the amplifier PHONO LO or PHONO HI in-

put as is required (turntable off and pickup arm at rest po-

sition) and do the same with the power plug of the turntable,

using the 117VAC convenience outlet on the amplifier if

desired. When all of this is completed, adjust the hum

balance control on top of the amplifier chassis for least hum.

operafien

PRELIMINARY; Be sure all tubes are firmly seated in their

sockets and that the tube shields are making good contact

with their bases. As initial adjustments, set these controls

as follows; LEVEL at zero, LOUDNESS at ten, BASS at

zero. Turn the amplifier on by turning the TREBLE control

clockwise from OFF and set it at zero initially. Note that

the LEVEL, LOUDNESS, BASS and TREBLE controls have

no effect on the TAPE OUTPUT.

LISTENING TO PHONOGRAPH; Set the SELECTOR to

one of the record equalization positions on the dial. Do-

ing so automatically selects the phonograph input plugged

into the PHONO LO or PHONO HI input. For help in

choosing the recording curve appropriate to any parti-

cular record, refer to the chart titled "RECORD EQUALl*

ZATION SELECTION" ,When in doubt as to which equali-

zation is most appropriate, use RIAA, which is the best

compromise for all records. Keep in mind that while the

positions offered cover most recording curves likely to be

encountered, additional separate and variable bass and

treble response adjustments are necessary for fully satis-

factory results. These may be necessary to compensate

for the over-all characteristics of ydur audio system (in-

cluding room acoustics), inexact matching of the actual

recording characteristic by any of the equalizations pro-

vided, and above all, the particular tastes of the listener.

LEVEL &LOUDNESS CONTROLS: Simply stated, the

purpose of the LOUDNESS control is to provide compen-

sation for the increasing inefficiency of the human ear In

hearing bass and treble with decreasing volume level. The

LOUDNESS control, as it is turned counter“clockwise from

maximum clockwise rotation, not only decreases the volume

but increasingly emphasizes the bass and treble according

to the Fletcher-Munson curves (curves developed from a

statistical study of this effect). An uncompensated LEVEL

control is also provided to "set" the LOUDNESS control

for proper operation In any system, and also for the purpose

of adjusting the listening level when going from quiet pro-

gram material to loud program material or the reverse with-

out occasioning achange In the loudness compensation .

To "set" the LOUDNESS control at anytime, perform these

operations in the order given to avoid blasting or possible

damage to speakers of low power-handling capacity; a)

Turn the LEVEL control to zero; b) Turn the LOUDNESS

control to ten; c) With high level orchestral program

material being fed to the amplifier from your phonograph

or tuner, advance the LEVEL control setting until a rela-

tively loud listening level Is obtained, d) Turn down the

LOUDNESS control until your normal listening level is ob-

tained with the LEVEL control set as just described. Proper

loudness compensation should now be obtained at any list-

ening level adjusted to with the LOUDNESS control. The

same reference LEVEL control setting will be suitable for

both phonograph and tuner listening If the volume control

of the tuner has been odjusted as described In the "High

Level Inputs" sub-section of the "Electrical Connections"

section. When selecting inputs which do not have level

adjusts, such as tv or acrystal cartridge connected to the

AUX. input, it may be desirable to set the LEVEL control

to zero beforehand and then bring up the LEVEL control to

obtain the desired listening level to avoid blasting

BASS CONTROL; The plus sign on the right side of the

dial indicates that clockwise rotation from the mid-point

(0) increases (boosts) bass response; the minus sign on the

left side indicate that counter-clockwise rotation from the

mid-point decreases (cuts) bass response. There Is no in-

teraction with the TREBLE control. Start all adjustments

with this control set at the mid-point (0), which is called

the "flat" position since bass response Is neither cut nor

boosted at this etting.

TREBLE CONTROL; The plus i^ign on the right side of the

dial indicates that clockwise rotation from the mid-point

(0) Increases (boosts) treble response; the minus sign on

the left side indicates that counter-clockwise rotation

from the mid-point decreases (cuts) treble response. There

is no interaction with the BASS control .Start all adjust-

ments with this control set at the mid-point (0), which is

called the "flat" position since treble response is. neither

cut nor boosted at this position.

LISTENING TO TUNERS, TV, TAPE RECORDERS: With

the SELECTOR switch set qt TUNER, TV, TAPE or AUX-

ILIARY, the corresponding high level input from aradio

tuner, tv, tape recorder, second tuner or crystal cartridge

will feed through the amplifier. Adjustment of the volume

control on each source is discussed in the "Electrical Con*-

nections" section under "High Level Inputs" and again

under "Level &Loudness Control" In this section.

MAKING RECORDINGS; Tape recordings may be made

by connecting the recorder to the TAPE OUTPUT jack.

See "Tape Output" under "ELECTRICALCONNECTIONS"

,

With the output of the recorder connected to the TAPE IN"

PUT jack, turning the SELECTOR switch to TAPE readies

the amplifier for playback of the recording,

RECORD EQUALIZATION SELECTION

Records are made with boosted volume in the treble range

to mask surface noise and reduced volume in the bass range

to conserve groove space and reduce distortion. As there

was no universally accepted standard of treble boost and

bass cut in recording before Spring 1954, records of which

the masters were made before this date may require any one

of several different equalizations (amounts of bass boost

and treble cut) by the amplifier to restore the original baU

once. Thespecific equalization required depends upon the

brand of the record, and the equalization which should be

used for each record brand (for recordings made before

1954) is listed in the first column to the right of the com-

pany’s name in the chart below. In some cases, additional

adjustment is required with the BASS control to match the

5

equalization employed by the particular company more

exactly.

Since Spring 1954, the RiAA (new AES) recording curve has

been adopted byalmostoll record companies and recordsof

which the masters were made after this date will be properly

equalized at the RIAA position unless the company involved

has not made the change ^see second column In chart).

ELECTRONIC XOVER (CROSSOVER) CONNECTIONS^

The Jack marked “INPUT* Is the termination of the pre-**

amplifier-control section. The jack marked “OUTPUT" Is

the input to the power amplifier section. In conventional

operation of the HF52, these jacks are Internally shorted

together by ajumper to permit normal operation of the

entire ampllflerasoslngleunit. (Notej The shorting jumper

Is intact in factory-wired unlti and in kits built as In-

structed. The jumper remains In place and the ELEC”

TRONIC XOVER “INPUT" and “OUTPUT" jocks are not

used at all for conventional operation.) If It is desired to

use an electronic crossover and an additional amplifier In

a"biamplification" system (see "Why Blamplify" by Roy

F. Allison, "High Fidelity" magazine, Nov. *56), it will

be necessary to remove the amplifier bottom plate and cut

the jumperbetween the ELECTRONIC XOVER "INPUTand

"OUTPUT" jacks. Using low capacity shielded cable.

connect the ELECTRONIC XOVER "INPUT" jack on the

amplifier to the Input of the electronic crossover unlt| con-

nect one of the outputs of the electronic crossover (usually

the low frequency, output) to the ELECTRONIC XOVER

"OUTPUT" of the HF52| connect the other output of the

electronic crossover (usually the high frequency output) to

the input of the second power amplifier. In addition to

optimizing the crossover frequency and adjusting the gain

ineoch channel to equalize for different woofer and tweeter

efficiencies, it will be necessary to adjust the level con-

trols throughout the system to minimize any increase In

noise and hum. Please note that "biamplfficotlon" has

nothing to do with stereophonic reproduction; If has to do

only with possibly Improving performance In asingle chan-

nel. Furthermore keep In mind that "blompllficatlon" is by

no means necessary or always useful, particularly for two-

way systems In which only ahigh pass filter is used (woofer

connects directly to amplifier). Finally, It should be rea-

lized that "biamplification" Is In Hie province of audio

experimentation; persons undertaking abiampllffcatlonsys**

tern should be adequately good judges of sound quality to

determine the optimum crossover frequency, balance, and

whether an overall Improvement is being obtained. The

article in "High Fidelity" magazine referred to previously

provides valuable criterions for determining whether bi-

ampllficatlon is worthwhile for aparticuior system.

RECORD EQUALIZATION SELECTION

Record Label Equal Izatioh Since Spring

1954

Record Label Equalization Since Spring

1954

Record Label Equalization Since Spring

1954

Allied RIAA RIAA Cook RIAA* RIAA Philhamionic RIAA,Ba5s+1 RIAA

Angel RIAA RIAA Decco COL RIAA Polymusic COL,Ba5s+2* RIAA

AHantic COL,Baa+2* RIAA EMS RIAA, Bass+1 RIAA RCA Victor RIAA, Bass +2.5 RIAA

Amer.Rec. Soc. RIAA RIAA Elektra COL, Bass +2 no change Remington COL, Bass+2 RIAA

Bartok COL, Bass +2 no change Epic COL RIAA Riverside RIAA RIAA

Blue Note Jazz RIAA, Bass +1 RIAA Esoteric RIAA RIAA Romany RIAA RIAA

Boston COL RIAA Folkways (most) COL, Bass +2 no change Savoy RIAA RIAA

Caedmon RIAA RIAA Good-Time Jazz RIAA, Bass+1 RIAA Tempo RIAA RIAA

Camden RIAA RIAA Haydn Society COL RIAA Urania, most COL,Ba$s+2 RIAA

Canyon RIAA, Bass+1 RIAA L*Oiseau-Lyre LON RIAA Urania, some RIAA, Bass +2 RIAA

Capitol RIAA,Bass+l RIAA London (ffrr) LON RIAA Vanguard COL RiAA

Capito!“Cetra RIAA, Bass +i no change Lyrichord,old COL or RIAA RIAA Bach Guild COL RIAA

Cefra-Soria COL no change Lyrichord,new COL,Bass+2 RIAA Vox COL RIAA

Coliosseiim COL RIAA Mercury RIAA, Bass+1 RIAA Walden RIAA RIAA

Columbia COL RIAA MGM RIAA RIAA Westminster COL, Bass+2 no change

Concert Hal! RIAA, Bass+1 RIAA Oceanic COL, Bass+2 RIAA European 78's Eur 78

Contemporary RIAA, Bass+1 RIAA Pacific Jazz RIAA RiAA Older Amer.78's

*Except- use EUR for binaural, inside band oniy.

mailiteifiaiice

OUTPUT STAGE BIAS &BALANCE ADJUSTMENTS

The BIAS ADJ. and the BALANCE ADJ .for the output

stage must be adjusted by kit builders before Initial use of

the amplifiers—factory wired units will have had these ad-

justments made. The BALANCE ADJ. will have to be re-

adjusted by all users whenever one or both of the EL34 out-

put tubes Is replaced or if It is suspected that dc unbalance

in the output tubes has occured In the course of use It is

strongly recommended that both EL34 output tubes be re-

placed at the same time, preferably with amatched pair,

a) PRELIMINARY BIAS& BALANCE ADJUSTMENTS: Be-

fore applying power, set both the BIAS ADJ. control and

the BALANCE ADJ .control at the approximate center of

their ranges of rotation. Then connect to AC power, turn

the amplifier on, and allow about one minute for warm-

up. If the plates of the EL34 output tubes turn cherry-red

during warm-up, turn the BIAS ADJ. control counter-

clockwise until redness Is just barely visible (normo Icon-

dition). If the redness does not disappear even at full

6

GENERAL

INSTRUCTIONS

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Eico HF 52 Manual

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